In Defense of the Poor Image

In an article (1) for e-flux journal online, Hito Steyerl describes the notion of the ‘poor image,’ and makes some interesting and thought-provoking statements. After stating that the ‘poor image’  “transforms quality into accessibility,[…], contemplation into distraction” (Steyerl, 2009), she also notes that “as it accelerates, it deteriorates.”

Steyerl dissects various features of the poor image, including the significance of focus, resolution, circulation, and the ability for anyone to be both a consumer and a contributor to their continued spread. She notes that “users become the editors, critics, translators, and (co-)authors of poor images.” This resonated with me because I believe that the more a viewer can interact with and become part of a project (whether that is through co-creation, submission, or interactive viewing), the more connected they feel to it. This is particularly important in an age where our attention spans are fleeting, and the stream of information and imagery vying for attention is endless. We are able to produce and circulate poor images with ease, thanks to the technology that has become so prevalent in modern life.

On the point of focus, these three points stood out to me;

• Focus is identified as a class position, […] while being out of focus lowers one’s value as an image.
• Resolution was fetishized as if its lack amounted to castration of the author. 
• [The poor image’s] lack of resolution attests to their appropriation and displacement. (2)

This article relates to my own folio in that I plan to incorporate secondary visual sources as part of my broader body of work. Some of those images will be created by technology (eg: global imaging satellites or CCTV), and others by my partner. These images will not be of the highest resolution possible. They may not be carefully composed or beautifully framed. They will probably be grainy and dark, and of a quality that could easily be dismissed as amateur. But, if I relate back to Steyerl’s argument, this lack of quality will give the images accessibility. I also believe it adds to the authenticity of the work, a kind of ‘anti-censoring’ or ‘un-filtering’ of the subject matter. As I am working in a diaristic format, I believe this is essential to the success of my project.

(1) Steyerl, H 2009, In Defense of the Poor Image, e-flux, viewed 07 April 2020, <https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/>

(2) Of course in some cases images with low resolution also appear in mainstream media environments (mainly news), where they are associated with urgency, immediacy, and catastrophe—and are extremely valuable. See Hito Steyerl, “Documentary Uncertainty,” A Prior 15 (2007).